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Final

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    Final Final Presentation Transcript

    • Language Font Image Colour The black and red colour palette connotes danger, violence and murder. The colour is clearly representative of the genre the film is trying to portray. Due to the contrast in brightness of the colours, it is easy to see each individual section of the poster. The white of the character’s eyes contrast against the black background and make them look more sinister. The language used clearly parodies the genre the film is representing. By juxtaposing the tongue in cheek title with the horrific images, the language is representative of the tone of the film (such as ‘horribly slow’ and ‘extremely inefficient’). The tagline also lampoons the genre and further elaborates on the tone of the film. This is supported by the advertisement on the release date, as it says continuously. The font used is bold and embedded onto the poster for clearer reading. By using a blocky and harsh font, it also portrays the severity of the film’s topic and the situation that may occur. The shadow of the character overlaps onto the red font, implying that there will be a dark shadow over the character in the film. The image implies scenes of a horrific nature due to the sinister eyes in the background. The image in the foreground is small enough to keep the ‘extremely inefficient weapon’ a mystery, but the costume and demeanour of the character is horrific enough to establish the supposed tone of the film further. The symbol under the character’s legs is a portent and foreshadows events to come in the film. Layout The poster consists of two halves; one for images, one for the title. The colours and different parts of the poster juxtapose against each other. Very simple images are used to accompany the title, and the halving of the poster show that both components are as important as each other.
    • Language The language used in this film poster is very simplistic and reflects the two main characters as they could be described as “simple”. The language is short and straight to the point and clearly illustrates the films content. Image The image is an evident cliché of a school photo which juxtaposes the two characters photographed in it. The two characters are clearly men who are middle aged and have exceeded the age of education this is highlighted by them wearing dated tank tops which are seemingly mature but have a childish element as they are both matching . This connotes the sense of humour of the film and the childish element that threads throughout. This attracts the target audience as the image is simple but is a clear representation of what they are about to watch. Colour The colour palette of this film poster consists of rather dull colours which have vivid tones and make the poster really stand out considering the use of dull colours which connote the two characters life and how it is dull and boring. The blue background reflects their childish qualities as it is a light blue and has a soft childish feel to it. Font The font is very simple and shows a definite divide between the text and image, this allows the audience to be informed easily as the font is bold and in a vivid colour that stands out for the purposes of advertising. The layout of the poster allows the audience to see every feature of the poster without clutter. The poster is centralised with the image and has symmetrical text running along the top and bottom. Layout
    • Image Language Colour Font The font style is very clear and simple to read, this shows the clarity in the films intentions. It is simple and is masking of the film’s high concept. The two main characters of the film are composed on the top of the poster next to the fracture of the ice. Metaphorically this shows although there is a crack in there relationship they are still together. This also shows us that the genre is a romance as they are united and gazing into each others eyes. Also the image of the characters head in the bottom corner is underneath the words; spotless mind. It shows that his mind and brain are the central parts of the film. The number of blues signify an icy demeanour, which juxtaposes against the colour orange, which represents sunshine, being bright and of this colour. The main female’s hair is also a bright colour, thus representing her spontaneity. The title of the film goes from dark to faint colouring as the film is about memories being erased. This shows the connection of fading memories by using fading writing. The words refer to the theme of memories and mind, and the cleansing of it, i.e. spotless. Layout The poster is made up of two halves, one showing two main characters and one having the title and a close up. It shows themes and the main star in which to sell the film on.
    • The writing style is personal and alludes to an event in the writer’s past. It also refers to their critique of a previous film by the director, thus furthering the relationship between reader, critic and director. It implies a sense of familiarity and grounds that it is a personal review. The reviewer has an informal tone. Outlines the plot in detail, enabling the reviewer a chance to attract an audience; both fans of the genre or those interested by the plot. Hints at promise for the director, and concludes with a superlative comment. The review is in agreement with the final score. Film titles are in italics. Use of rhetorical question and exclamation mark furthers the use of personal style.
    • Brennan (Ferrell) is a 39 year-old stay-at-home layabout. So is Dale (Reilly), except he’s 40. When Brennan’s mum (Steenburgen) marries Dale’s dad (Jenkins), the two are forced to live together. Can they put their differences aside and finally get off their asses? Talladega Nights, the second movie from the SNL-spawned creative team of Will Ferrell and Adam McKay, may have made big bucks but it was pretty disappointing, failing to capture the magic of Anchorman, their free-wheeling debut. But in introducing John C. Reilly as an unexpected comedic foil for Ferrell’s blustering idiocy, McKay and his writing partner laid the foundations for their third movie. And if it’s still a few notches beneath the inspired lunacy of Ron Burgundy and chums, it’s a definite return to form.   Although the problem of grown men refusing to leave the parental home is very real, McKay and Ferrell aren’t interested in social comment. Instead, they’re focused on making us laugh, a policy that hinges on the chemistry generated by Ferrell and Reilly. Though the line blurs between Brennan and Dale (both are idiotic curly-haired man-children, engines of id, impulse, immature posturing and, Ferrell fans will be pleased to hear, primal screaming), Ferrell and Reilly are a superb double-act, Reilly’s cockiness meshing well with Ferrell’s puppy dog innocence. They’re fine separately, but when the two are together, be it during an extended fight scene with a bunch of kids, or a demented sleepwalking sequence, the movie is a blast. Crucially, they also make Dale and Brennan - who could very easily be obnoxious and unpleasant - likable. However, there are missteps, such as the decision to root the action in a mundane world, which works against the outlandish humour (even Jenkins and Steenburgen, both fine actors, can’t sell the concept that anyone would put up with the crap Dale and Brennan pull). More damaging is McKay’s pursuit of an R rating (most likely a 15 over here), which doesn’t sit well with the tone of the movie or their established universe, which previously - erection gags and all - felt innocent and joyous. Gags about exposed balls or licking dog shit do not. But when McKay focuses on the pure simplicity of the pair getting stupidly excited over tree houses, Chewbacca masks and samurai swords, Step Brothers is a hugely entertaining exercise in the comedy of the random, complete with improvised non-sequiturs, bonkers one-liners (“Your voice is a combination of Fergie and Jesus”), and a triumphant climactic sequence featuring a montage that’s actually funny. It’s no Anchorman, but it’s several steps in the right direction. The opening of the film review explains the plot very briefly and shortly to the reader, who may or may not have seen the film. A convention of this part of the film review is the way they write about the characters instead of just telling you about the characters they also inform you of the actor playing the character by putting their surname in brackets afterwards e.g. Brennan (Ferrell). At the end of this section the reviewer uses a rhetoric device to capture the readers attention “Can they put their differences aside and finally get off their asses?” this questions the reader and makes the reader want to read on. At the end of the review there is a finalising sentence which sums up the entire analysis, it references a modern day film and puts the film into context of its credibility in modern day cinema. It is a statement that the reader will remember and associate with the film The main section of this article is the review. The review looks back on the film and expresses the opinion of the film reviewer. The review consists of a cocktail of adjectives such as “blustering idiocy…puppy dog innocence” the elaborate language picks out the films content as well as characters and explores them in a critical depth. The review is mainly bias but is very clear it is a single persons view point. There is quotes from the film referencing specific key moments such as “bonkers one-liners (“your voice is a combination between Fergie and Jesus”)”. The reviewer references modern day society and is clearly targeting the review at a relevant audience to the time the film was released. The film review highlights key parts of the film and weaving critique of the characters and production team throughout. Another key feature on other film reviews is an overall rating such as a star rating or score.
    • Charlie Kaufman has a problem with endings. As a pure ideas man, the Oscar-nominated screenwriter of Being John Malkovich and Adaptation is without peer. But the third act of his Confessions Of A Dangerous Mind script gets tangled up in its own intrigue; and Malkovich also ends without conviction, limping over the line as if it has not drawn breath since that sprint start. Kaufman's problem with third acts is, in fact, so acute that it becomes the very substance of Adaptation's sour last half hour. But just as everyone (including Kaufman) was ready to conclude that Charlie's acorns simply do not develop into full-sized trees, along comes the measured growth and glorious blossom of Eternal Sunshine Of The Spotless Mind, his most satisfying fantasy yet. Make no mistake, Eternal Sunshine has a really terrific third act – it's just the first two that threaten to get in the way. Eternal Sunshine Of The Spotless Mind is, in fact, the second Kaufman script helmed by Michel Gondry who, like previous collaborator Spike Jonze, is an acclaimed director of music videos. Their first underrated and unseen venture was Human Nature which – setting aside the almost obligatory 'third act problems' – simply didn't boast the sugary star coating (Rhys Ifans?) that is apparently necessary to make the patented Kaufman weirdness palatable (Cusack, Cage, Clooney). Eternal Sunshine has no such problems, with both an embarrassment of riches on the bench and, front and centre, the biggest star yet to be drawn to the cult of Kaufman: Jim Carrey. Carrey, his dramatic ego keeping that famous comic id on a tight leash, will no doubt bemuse the Bruce Almighty crowd with his most interior, least expressive role so far – Joel Barish, a character actually described as "close-mouthed". But before any self-styled sophisticates start shouting "see-ya!", Adaptation fans might find themselves equally discomfited, for Eternal Sunshine is not the headlong rush of ideas that its high-concept pitch might have you believe. A cute but low-key and very long pre-credits sequence gives way to a potentially bewildering opening in which we share Joel's confusion at why his girlfriend is ignoring him. Once Barish discovers her visit to Lacuna Inc. and decides on a tit-for-tat strategy, the majority of the action takes place over one night in one small room and inside one man's rapidly disintegrating memory. Part fever dream and part chamber piece, it takes a long time before any sunshine at all breaks into what is a melancholic and occasionally bitter first half. However, once Joel's subconscious decides that the procedure is a bad idea and enlists the 'memory' of Clementine (Winslet at her most winning) in a daring escape plan, the movie picks up pace and starts to explore comic areas – teenage humiliation, suppressed trauma – that play to Carrey's obvious strengths and best showcase the undoubted visual verve of Gondry. (The dazzling editing alone demands repeat viewings to unscramble.) Even better, as Joel's situation becomes more hopeless, the tone miraculously becomes more hopeful, journeying right back to those first, deeply romantic, days with Clementine. All at once, Kaufman's master plan snaps into focus, with the true purpose of the Lacuna technical team (everyone scores in small parts, notably a disarming Dunst) revealed with an unexpected reversal. A final, bittersweet coda seals the deal; the movie has travelled into light but the memories of darkness past can never be entirely wiped away. No movie since Annie Hall has better captured the entire arc of a relationship, and even Woody Allen stopped short of presenting the beginning and the end at the exact same time. Verdict Eternal Sunshine is not particularly funny, or even very sunny, but it is Charlie Kaufman's first whole screenplay, and as wonderful as it is weird. Some people may find the early going tough, but this remarkable movie is in possession of a serious mind and a rare, true heart. Eternal Sunshine of the Spotless Mind - Review First paragraph briefly outlines the plot- actor names are put into brackets Background to the screen writer. This will highlight him as popular. Lots of adjectives used. Informal tone. Talking about it being his second script, and the fist having ‘third act problems’ Talks about Jim Carrey playing a different type of role to what he usually plays. Judgement of actresses performance, talking about her being at her ‘most winning’ Review ends with a verdict summarising the reviewers thought in a nut shell.
    • The short film ‘The Horribly Slow Murderer With The Extremely Inefficient Weapon’ follows Jack, a man trying to live a normal life but is tormented by a supernatural force who beats him with a spoon for all eternity. After an unspecified number of time, and unable to cope or explain the attacker, he visits a spirit guide who explains that the Ginosabe, as it is known, will never stop. Jack eventually resorts to armed violence, using all manners of guns and explosives in his attempt to stop the attacker. However, he is still unable to stop it, and eventually surrenders to his fate; to be beaten by the Ginosabe until he is dead.
    • Mise En Scene Camera Work Editing Sound * Dark colours such as black, muted lighting and dark clothing (long cloak, stereotypical of horror characters) to emphasise murderous aspect. * Man is wearing normal clothes to highlight supposed verisimilitude and signify the predicament he finds himself in can happen to anyone. * Guns introduced later on to highlight the growing absurdity of the situation. It also is a staple and symbol of the changing genre; from horror to action. * Amplified use of spoons, as in the end when he opens his coat, highlights the comedic aspect of the film. * Number of low angles used on killer to show power and imposing presence. Number of high angles used on victim, such as the start in which the spoon is first shown. * Number of close ups on both faces and the spoon to show emotion and significance; an example being when Jack lies on the floor bleeding at the end of the film * Establishing shot for each location to show epic proportions of journey, such as when Jack arrives in places such as the Great Pyramids and Paris. * Pans and tracks used to show fluidity in movements of characters. * Straight cuts used throughout; speed heightens throughout to exemplify drama. * Synchronous with the changes in tempo of non-diegetic music. * Non-diegetic music, including voiceover and suspenseful music, evolve and continue to change as the tone of the film heightens. * Dialogue is exaggerated throughout in pitch and dialogue used.
    • The film is about a man who is having a long late night at the office. The photocopier stops working and he pushes some buttons and gives it a couple of kicks. Then comes out a piece of paper with nothing but a giant black circle. He makes nothing of this until he puts his cup down and it falls through the paper, now the title makes more sense. He goes on using the ‘black hole’ to take simple things like the chocolate from the vending machine. He then goes on to open the locked door and then tape the paper onto the safe inside this room and take all the money from it, he then goes to reach the rest of the money from the back of the safe and climbs through the hole. Just as he gets in the paper falls down. The film ends with him knocking on the safe as he is trapped inside it.
    • Sound * No dialogue, just non diegetic sound * Starts with sound of just the printer, photocopier and other office sounds you would expect to hear. * When he picks up his cup and then comes on the ominous sound that comes from ‘the black hole’ Mise En Scene * Set in a office. Props used are things such as obvious office equipment for example; computers, office cubicles, chairs, lamps a vending machine and the main object of the photocopier that produces ‘the Black Hole’. All these add to the verisimilitude and makes it more believable and real. * Costume consists of shirt, tie and trousers. Working late is evident as there is no one around in his office and that his clothes are all scruffy. This links to him being an everyday person and that it could happen to anyone. Editing * Includes a lot of straight cuts. * Keeps up with the pace his movement while he walks around the office with the sheet of paper that contains the Black Hole. Camera Work * Includes a lot of close up and medium shots. This shows us him and the black hole together at pretty much all times. As the shots are not too long this means that we can see all that is going on. * Opens with a pan, showing the setting, which eventually focuses on the main character showing he is the main person in the narrative. * Aerial shot of photocopier to show it is not working, also an aerial of the black hole as it comes out of the photocopier this shows it clearly which links to the next shot.
    • The short film ‘Plastic Bag is the story of the journey a solitary plastic bag makes to find its lost-maker who took it home from the store and gradually discarded it. The plastic bag encounters new sights, creatures, people, the loss of its maker and even falls in love in the sky. Eventually the bag makes its way into the ocean and into the pacific ocean trash vortex – a utopian world in which it can rest with its own kind and let the memories of its owner fade away.
    • Mise En Scene Camera Work Editing Sound * A voice over which is the voice of the plastic bag. * Diegetic sound is mixed with the voice over to get the natural sound of the camera shots. * When there is no voice over and there is just images of the bag floating in there is a music soundtrack which gives the film motion and excitement. * The settings on the plastic bags journey are standard realistic settings such as streets, shops, houses and even the beach this adds to the verisimilitude of the film, and therefore makes an emotional attachment with the bag more understandable as you can relate it to the world we live in * As there are no characters there is generic props which appear and make the film more realistic such as the tractor in the landfill site and the shopping items at the start of the bags journey * There are a lot of fades which are used to show a passing of time and to elongate the bags journey, this fits with the pace of the film and gives a tedious and flowing feel. * The film contains a variety of different camera angles, shots and distances which is needed as the film is just solely about a plastic bag * At the opening of the film the shot is a medium shot of the plastic bag on a beach which is placed in the bottom left third of the shot to show its isolation * There are a lot of tracks when the bag is being blown by the wind to emphasise the bags movement.